In the fair city that I currently inhabit, in early summer, a high canopy of trees conceals row houses, bamboo invidiously creeps under fences, English ivy over walls. The broad leaves of fig and hosta turn upward to catch the rain. Mornings the streets are skeined with movement. Boys and girls, hair still damp and shiny, rush to catch the bus to work or school. On the buses something seems to gather out of the collective health and cleanliness of the passengers, a sort of eagerness for the day that could be described by the word prosperity.
We know, of course, that appearances are surfaces. I won’t dwell on the many ways rouge can disguise a bruise, or paint conceal rot. Instead it is the density of objects in space I want to point to, how a busy streetscape asks us to pick out geometries and details, to project dramas upon those passing by. There is nothing sparse in this vision; there is no horizon line.
When I sat down to write this morning I intended to respond to your question of surety. As you put it, acting without caring for consequence. Instead I’ve been led astray by another question, the one implicit in your image of the undercarriage of branches.